Los Angeles Philharmonic
Performers
Los Angeles Philharmonic
Gustavo Dudamel, Music and Artistic Director
María Dueñas, Violin
Program
GABRIELA ORTIZ Violin Concerto (NY Premiere)
G. MAHLER Symphony No. 1
Encore:
TÁRREGA Recuerdos de la Alhambra (arr. Ruggiero Ricci)
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission. Please note that there will be no late seating before intermission.Listen to Selected Works
At a Glance
On the surface, this program would seem to be predicated on contrast. The temporal, geographical, cultural, chronological, and aesthetic distances between Gustav Mahler’s First Symphony and Gabriela Ortiz’s seventh musical “altar” are great indeed. But there are also areas of common ground, however dislocated. Both composers draw on a focused range of interdisciplinary influences and inspirations—Mahler from German Romantic art and literature (with a portentous nod to Dante), Ortiz from border-fluid architecture and sociology—and both accept and personalize traditional forms.
Perhaps freed by her distance from the origin of those traditions and her maturity as an artist, Ortiz was able to complete Altar de cuerda in three months last year. She cast it in the three fast–slow–fast movements common to the concerto heritage but filled that familiar outline with a heady mix of vivid and inventive instrumental colors and textures.
Mahler, on the other hand, struggled for 15 years with details great and small (including eliminating an entire movement) before bringing his Symphony No. 1 through four premieres to its final published form in the four movements of tradition. In the process, he ditched the evolving verbal programs that once accompanied the music, though their nature imagery and narrative arc remain audible. As with Altar de cuerda, the forms and their functions may be of recognizable genres, but their expression is utterly idiosyncratic.
—John Henken